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Auditions

Auditions

Auditions are open to everyone and are held at the Ashtabula Arts Center. You do not need prior theater experience to try out for a show. If you are not cast in an on-stage role, please consider volunteering on the backstage crew. Working behind the scenes at a show is a tremendously valuable experience for any performer – and a successful production is as dependent on the backstage team as it is on the cast.

There is no cost to audition for or take part in a 13th Street or Straw Hat show. Please direct audition questions to Kimberly Godfrey Warren, Director of Theater & Music, at (440) 964-3396.

Please bring a list of calendar conflicts for the director of the show you’re trying out for. Commitment is important, and the success of a production relies heavily on everyone from leads to ensemble being responsible and consistent in showing up for rehearsals.

Upcoming Auditions

Bat Boy: The Musical 
Performance Dates: 
January 16-18, 23-25, 30- Feb 1
Directed by Kim Godfrey Warren and Zach Adkins
Music Director TBD
Audition Dates: 
October 13 & 14 from 6-8 p.m.
Audition Requirements: Please prepare a short song in the style of the show. Think rock musical, campy flair, or emotional ballad- just make it bold! A pianist will be provided. Bring clearly marked sheet music in the correct key. You can also bring recorded accompaniment.
First read-through: October 29 at 6 p.m.
Rehearsals begin: November 3
Rehearsal schedule will allow for ample time off during the holidays. 
 
Arsenic and Old Lace
Performance Dates: 
February 13-15, 20-22
Directed by Stephen Rhodes
Audition Dates: 
November 18 & 19 at 6 p.m.
Be prepared to read from the script
Seeking the following roles for an upcoming production: 
2 women who can portray ages 65+
1 woman aged 20-40
11 men who can portray ages 25-70
First read- through: December 1
Rehearsals begin: December 8 
Rehearsal schedule will allow for ample time off during the holidays. 

Audition FAQs

Know what you’re auditioning for: read about the show and familiarize yourself with the characters; you’ll find these details on the website for the licensing company that holds the rights to the show (MTI, Concord Theatricals, etc.) Choose a song or a monologue that fits the character you want to play. You should have your audition material memorized (the exception is an audition where you’ll be asked to read from the script.) It’s ideal to bring sheet music to a musical audition so the director can hear if you’re able to match pitch with the piano and what key you’re singing in. If you’re unable to bring sheet music, recorded accompaniment on your phone is fine, but it must be instrumental only – no vocals.
Look up other songs by the show’s composer(s), and choose one that’s age appropriate. Avoid pop songs; they don’t generally show off a singer’s full range as well as a theatrical song, and they also don’t typically have a storytelling element.
Young children can sing nursery rhymes or school songs, or tell a funny story about something that happened to them. With little ones, directors are looking at how clearly they can understand speech, whether children can project, and if they’re animated and engaging.
Don’t panic! Even seasoned performers can make mistakes – directors aren’t looking for perfection in your audition. It’s perfectly fine to be nervous, or to have to start a song or monologue over.
Calendar conflicts don’t necessarily mean you won’t be cast. You will be expected to be present throughout tech week and at every performance. It’s always best to keep conflicts during the rest of the rehearsal process to a minimum, but they’re much less of a problem when the director is made aware of them in advance and can take them into account when planning the rehearsal schedule.
The timeline for casting is different for every show and director. Directors aren’t just considering how each person fits a particular character, but also how they interact with each other. Casting is as much about actors’ chemistry with each other as it is about individual performances. Directors also consider how closely auditioning performers fit their vision for a show. Callbacks are always a possibility, but don’t happen for every show, or even every character within a single show. In short, the timeline to hear back can vary tremendously from one show to another.

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